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januia 


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Copyriglil,    1914 
Max  Robinoir 


Pavlowas  1914^15 


Repertoire 


FLORA'S  AWAKENING 

An  absolutely  new  ballet  of  mytho- 
logical character.  Arranged  by  M. 
Clustine.  Music  by  Drigo,  scenes 
designed  by  Rothenstein. 


&•■ 


^^ 


PUPPEN^FEE   (The  Fairy  Doll) 

A  charming  novelty  never  before  per- 
formed here  by  Pavlowa.  Arranged 
by  Clustine.  Music  by  Bayer,  the 
scenery     designed     by     Dobuginsky. 


WALPURGIS-NIGHT 

The  St.  Petersburg  version  of  this 
elaborate  ballet  from  Gounod's 
Faust.  Arranged  by  Clustine,  set- 
tings from  designs  by  the  English 
artist  Sime. 


^1 


>iS 


AMARILLA 

A  new  ballet,  based  on  a  bit  of 
Gypsy  folk-lore.  Music  by  Drigo, 
Glazounow  and  Dargomiszki,  set- 
tings from  designs  by  Sime. 


THE   SEVEN  DAUGHTERS  OF 
THE  GHOST  KING 

A  new  ballet  by  M.  Fokine,  with 
music  by  Spendiarovv.;  The  effect- 
ive seti  itig.  afte*:  design '.by  the  splen- 
did artist  Rothen.stein.   • 

the' MAGIC  FLUTE 

A  romantic  ballet  with  a  pretty 
love-story.  Arranged  by  Marius 
Pepita,  late  director  of  the  Rus- 
sian Ballet  System.     Music  by  Drigo. 


Tf 


LES  PRELUDES 

The  futuristic  ballet  which  made  a 
profound  impression  during  Mile. 
Pavlowa's  last  season's  tour.  Music 
by   Liszt.       Arranged   by   Fokine. 


THE  DANCE  OF  TODAY 

Introducing  Mile.  Pavlowa's  three 
new  society-dances,  the  Pavlowana, 
the  Gavotte  Renaissance  and  the 
Czarina  Waltz.  Arranged  by 
Clustine. 


Mile.  Pavlowa's    1914-15  American  Tour 

Under  the  Direction  of 

Pavlowa  Ballet,  Inc. 

Max  RabinofF,  Managing  Director 


rtOt)aart...i*  '.s'f  tiifi. 


ALL  lovers  of  whatever  is  truly  beautiful, 
,  whether  they  be  connoisseurs  or  not,  recog- 
nize Mile.  Anna  Pavlowa  as  the  supreme  interpre- 
ter of  the  dance  art  in  its  every  detail.  The  con- 
sensus of  expert  and  general  public  opinion  accords 
to  this  distinguished  Russian  premiere  danseuse  a 
position  such  as  has  never  before  been  occupied 
by  any  great  predecessor  in  former  decades. 

The  art  of  the  dance,  since  Anna  Pavlowa's 
advent  into  a  place  of  conspicuous  importance,  has 
come  to  mean  more  than  at  any  other  period.  In 
America,  especially,  has  this  been  particularly 
noticeable,  for  not  until  Mile.  Pavlowa  made  her 
first  visit  to  this  country  in  1910  did  the  people 
know  the  dance  in  its  true  art  form.  Then  it  was 
discovered  that  apart  from  superlative  dancing 
ability  other  attributes  required  by  a  great  artist 
are  dramatic   expressiveness  of   the  highest   order. 

As  the  American  public  became  acquainted 
with  the  endeavors  of  Mile.  Pavlowa  they  dis- 
covered that  the  Russian  ballets  represented  a 
distinct  and  marked  advance  over  those  ballets  of 


other  schools.  Every  ballet  presented  by  Mile. 
Pavlowa  and  her  company  was  revealed  as  a  per- 
fect art  unit  consisting  of  the  joining  of  drama 
(composed  of  dancing  and  pantomime),  music  and 
art — the  latter  comprising  settings  and  costumes. 

The  strength  of  Mile.  Pavlowa's  organization 
was  such  as  to  establish  a  new  standard  in  similar 
efforts.  Apart  from  the  dramatic  and  terpsi- 
chorean  skill  of  each  member,  there  was  a  sym- 
phony orchestra,  scenes  and  costumes  of  the  sort 
demanded  in  grand  opera,  and  artistic  department 
heads  ranking  among  the  most  capable  in  their 
professions.  Under  conditions  such  as  these  the 
offerings  of  Mile.  Pavlowa  and  her  associates 
carried  a  universal  appeal. 

This  season,  her  third  tour  of  the  country, 
brings  the  largest  and  most  perfect  organization 
Mile.  Pavlowa  has  ever  assembled,  and  the  novel- 
ties to  be  introduced  together  with  the  general 
features  also  planned  should  make  the  accomplish- 
ment the  finest  and  most  pretentious  in  this 
artist's    notable    career. 


Walpurgis-Night 


OPERA-GOERS  of  this  country  who  are  famil- 
iar with  their  "Faust  "  doubtless  are  aware 
that  an  elaborate  ballet,  known  as  the  Walpurgis- 
Night,  was  designed  for  use  in  the  presentation  of 
this  work;  but  unless  they  chanced  to  be  in  St. 
Petersburg,  Moscow  or  Paris  when  it  was  given 
they  probably  have  never  seen  it. 

Gounod  wrote  some  of  his  most  beautiful  music 
for  this  ballet.  The  great  composer  always  felt 
that,  while  its  introduction  in  the  opera  was  not 
essential  to  the  unfolding  of  the  story,  it  served 
to  round  out  a  performance;  to  make  it  more 
complete  and  satis- 
fying to  admirers 
of  all  the  arts. 

With  the  excep- 
tion of  permanent 
opera  organiza- 
tions in  the  three 
cities  mentioned, 
which  fortunately 
possessed  a  ballet 
equipment  of  the 
exceptional  skill 
and  size  required 
for  so  vast  a  cho- 
reographic under- 
taking, few  other 
companies  giving 
opera  have  attemp- 
ted to  interpret  the 
Walpurgis  -Night 
ballet  for  its  pa- 
trons. 


The  first  scene  in  the  new  ballet,  Walpurgis'Night.     Designed  by  Sidney  H.  Sime. 
an  English  artist  of  marked  originality.      Executed  by  W.  M.  Harvey 


For  more  than  two  yea' s,  Mile; ,  Pa.v;l.ov?d  has. 
wished  to  give  the  American  public  an  opportunity 
to  become  acquainted  with  what  she  regards  one 
of  the  finest  ballet  achievements  of  any  time.  In 
her  examination  of  the  original  ballet,  something 
over  a  twelvemonth  since,  the  premiere  danseuse 
gradually  developed  a  belief  that  there  were  pos- 
sibilities for  an  improvement,  even,  on  a  very 
great  work. 

When  at  last  she  decided  to  start  preparations 
for  the  production  of  Walpurgis-Night,  Mile. 
Pavlowa    enlisted    the    aid    of    M.    Ivan    Clustine, 

for  many  years 
maitre  de  ballet  at 
the  Imperial  Opera 
Houses  of  St. 
Petersburg  and 
Moscow,  and  for 
the  past  several 
seasons  in  absolute 
charge  of  every 
phase  of  ballet 
presentation  at  the 
Paris  Grand  Opera. 
M.  Clustine 
(who  is  making  his 
first  visit  to  this 
country  during  the 
present  season  as 
maitre  de  ballet 
and  one  of  the  lead- 
ing members  of 
Mile.  Pavlowa's 
organization)      un- 


930959 


dertook  to  reconstruct  Walpurgis-Night. 
His  success  was  so  great  that  in  the 
form  of  its  interpretation  it  becomes 
unquestionably  the  superior  of  the  orig- 
inal. Eminent  connoisseurs  who  have 
seen  Mile.  Pavlowa  and  her  supporting 
company  in  Walpurgis-Night  contend 
that  it  is  one  of  the  finest  achievements 
that  stand  to  her  already  large  artistic 
credit. 

As  a  fit  setting  is  essential  for  the 
adequate  reflection  of  any  gem,  so,  by  a 
similar  token,  must  the  scenery  and  the 
costumes  utilized  in  a  pretentious  ballet 
conform  in  every  detail  to  the  demands. 
M.  Clustine's  arrangement  of  Walpurgis- 
Night  is  in  a  single  act,  but  it  calls  for 
two  scenes. 

The  first  depicts  a  portion  of  a  vast 
forest,  near  the  summit  of  the  Sybil 
Mountains,  which  is  startling  in  the 
effectiveness  with  which  that  splendid 
English  artist,  Sidney  H.  Sime,  has 
painted  huge  tree-lriinks  against  which  human 
figures  appear  as-pygrnies.  The  second  scene  dis- 
closes the  Temple  of  .Apollo  on  Olympus,  where 
raast  at  iact  fnds  himself  with  Helen,  who  has 
been  sought  for  his  charge  by  Mephistopheles  in 
an  effort  to  cause  memories  of  Marguerite  to 
fade. 

That  these  two  creations  of  scenic  art  rank  with 
the  most  stunning  ever  executed  is  the  opinion  of 
all  who  have  seen  them.  To  the  expert,  the  daring 
mass'ng  of  purples  and  kindred  sombre  tones  used 
in  fashioning  the  painted  Forest  atop  the  Sybil 
Mountains  represents  a  supreme  touch;  a  degree 
of  appreciation  which  the  public  has  shared.  The 
Temple  of  Apollo,  admirably  conceived  by  the 
artist,  is  no  less  faithful  to  traditions  in  its  classi- 
cally drawn  lines  than  in  the  harmonious  blending 
of  the  scheme  of  colors. 

The  chief  characters  in  the  pantomimic  action 
of  the  Walpurgis-Night  ballet  are  Helen  of  Troy 
(Mile.  Pavlowa),  Faust  and  Mephistopheles.  As 
the  curtain  rises  the  two  last  mentioned  personages 
are  engaged  in  a  conversation,  which  is  of  course 
conveyed  to  the  audience  in  pantomime.  Faust, 
in  despair  at  the  loss  of  Marguerite,  shows  but  a 
slight  interest  in  the  latest  scheming  of  his  Mephisto- 
phelian  comrade.     To  quote  Goethe  himself: 

"Him  can  no  pleasure  sate,  no  bliss  suffice. 

Thus  ever  after  changing  forms  he  springeth. 

Even  to  this  last  sorry  empty  trice. 

Poor  wretch,  with  all  his  soul  he  clingeth. 

Me  did  he  sturdily  withstand — 

Time  triumphs,  lies  the  graybeard  in  the  sand. 

The  clock  stands  still." 


The  Hall  of  Apollo,  on  Olympus;  second  scene  in  Walpurgis-Night.     An  effective 
setting  affording  a  fine  contrast  with  the  one  preceding 


This  speech  comes,  of  course,  at  the  close  of 
Faust's  worldly  existence,  in  Goethe's  poetic 
masterpiece;  yet  it  so  truly  represents  the  charac- 
ter of  Faust  that  its  reprinting  serves  well  to  fully 
emphasize  it. 

Though  altered  from  the  position  accorded  it 
in  the  Goethe  work — for  the  purposes  deemed 
artistically  permissible  by  M.  Clustine  in  arrang- 
ing the  ballet — the  opening  scene  prepares  the  way 
for  some  of  the  most  beautiful  dancing  yet  seen. 
The  costumes  of  Orley  De  Carva  form  an  integral 
part  of  the  color  scheme,  and  here,  as  well  as  in  the 
second  scene,  they  call  forth  admiration  of  the 
highest   sort. 

in  the  concluding  half  of  Mile.  Pavlowa's  Wal- 
purgis-Night, the  open  space  before  Apollo's 
Temple  offers  all  that  a  choreographic  director  of 
first  rank  would  desire  for  his  endeavors.  In  order 
to  win  Helen  (the  Ideal  of  Beauty)  Goethe's  com- 
mentators assert  that  it  was  intended  that  Faust 
should  pass,  by  successive  steps,  through  the 
various  phases  leading  up  to  the  fruition  of  such 
desire.  The  translation  of  this  mental  process  into 
sensible  symbols  is  accomplished  by  carrying 
Faust  on  a  visit  to  the  phantom  Greek  world,  the 
legions  of  Hellenic  myth. 

The  fullest  resources  of  ballet  possibilities  are 
revealed  in  this  second  scene  of  M.  Clustine  s 
arrangement  of  Walpurgis-Night.  As  Helen, 
Mile.  Pavlowa  has  a  role  that  demands  more  than 
the  ability  to  dance  superlatively.  While  this 
ability  is  imperative  it  is  the  dramatic  expression 
of  the  character  assumed  that  requires  the  most 
subtle  handling;  and,  finally,  the  joining  of  pan- 
tomime and  dance  arts. 


Flora's  Awakening 


Fron 


Teneram  s  statue 
of  Flora 


WHEN  Flora's  Awakening  was 
produced  for  the  first  time,  at 
the  Imperial  Theatre  of  Peter- 
hof,  it  created  a  profound  im- 
pression. 

Although  the  arrangement 
of  the  material  by  that  distin- 
guished maitre  de  ballet,  M. 
Ivan  Clustine,  proved  a  lofty 
artistic  achievement  the  pres- 
entation of  this  one-act  choreo- 
graphic creation  attracted 
particular  attention  to  the 
accomplishment  of  the  artist 
who  had  devised  and  executed 
the  settings  and  the  costumes. 
Since  that  occasion  Albert 
Rothenstein  has  been  accorded 
a  place  approaching  that  shared 
by  those  two  celebrated  scenic 
artists,  MM.  Leon  Bakst  and 
Boris  Anisfeld. 
Like  his  more  widely-known  confreres,  Mr. 
Rothenstein,  whose  place  of  residence  is  London, 
is  a  colorist  of  striking  originality.  In  Flora's 
Awakening,  Mr.  Rothenstein  used  brush  and  pig- 
ments with  such  superlative  skill  that  his  com- 
pleted task  represented  a  garden  of  singular 
loveliness,  beyond  which,  in  the  distance,  hills  are 
portrayed  in  a  manner  that  imparts  to  the  entire 
scene  a  perspective  of  rare  artistic  balance  and 
depth. 

The  character  of  his  theme  demanding  soft- 
ness, Mr.  Rothenstein  has  sought  conscientiously 
(and  with  admitted  triumph)  to  keep  his  tints  at 
their  proper  tonal  pitches.  In  this,  and  the  ad- 
mirable drawing  of  flowers,  foliage,  trees 
and  hillsides,  the  new  scenic  master  rises 
to  undoubted  heights. 

The  beginning  of  the  ballet  discloses 
Flora  (Mile.  Pavlowa)  and  her  nymphs 
lying  asleep  under  the  blooming  bushes 
in  the  garden;  and  watching  over  them 
is  Diana,  Goddess  of  the  Night.  Pres- 
ently dawn  lightens  the  sky,  and  Diana 
disappears.  As  daylight  breaks  the  air 
becomes  cooler,  with  good  reason,  for 
Boreas  in  passing  breathes  icily.  With 
shivers  the  nymphs  awake,  and  in  fright 
seek  shelter  under  nearby  leafy  branches. 
Boreas  has  vanished,  but  in  his  wake 
he  leaves  a  cold  dew.  Here  there  trans- 
pires a  pretty  terpsichorean  bit  in  the 
form  of  dancers  who,  as  "Dew,  "  flit 
about  carrying  amphors  filled  with  sil- 
very liquid  which  they  sprinkle  over 
Flora  and  her  nymphs.  Under  this 
newer  suffering]  Flora  appeals  to  Aurora 


for  alleviation.  In  response  Aurora  comes,  and 
with  caresses  comforts  Flora,  assuring  her  of  the 
nearness  of  Apollo,  God  of  the  Day,  whose  arrival 
will  insure  relief. 

Preceded  by  a  luminous  light  in  which  Aurora 
gradually  fades  Apollo  appears,  radiating  warmth 
and  reviving  everything  about  him.  He  then  sum- 
mons Zephyr,  who  obeys,  attended  by  Cupid  and 
his  Cherubs.  Charmed  by  the  beauty  of  Flora, 
and  conscious  that  it  is  "the  will  of  the  Gods," 
Apollo  declares  that  to  insure  her  complete  happi- 
ness she  and  Zephyr  shall  henceforth  be  united. 
In  the  expression  of  joy  following  on  this  announce- 
ment a  Pas  d'ensemble  takes  place  in  which  Flora, 
Zephyr,  Apollo,  Cupid,  Cherubs  and  Nymphs 
participate. 

As  the  dance  concludes  Mercury  enters  upon 
the  scene  to  tell  of  the  coming  of  Ganymede  and 
Hebe.  Dispatched  by  Jupiter  they  bear  a  cup 
filled  with  nectar  which  bestows  upon  those  who 
drink  it  eternal  youth.  Quaffing,  Flora  and  Zephyr 
yield  to  unrestrained  happiness  in  a  bacchanalian 
dance;  and  this  progresses  into  a  procession  com- 
posed of  Satyrs,  Bacchantes,  Bacchants,  Fauns 
and  Sylvans  adorned  at  the  end  with  the  chariot 
bearing  Bacchus  and  Arianne.  The  close  of  this 
effective  ballet  comprises  a  Grand  Pas  in  which 
the  chief  participants  are  Flora,  Zephyr,  Apollo, 
Cupid,  Ganymede,  Hebe,  Mercury  and  all  those — 
save  Bacchus  and  Arianne — of  the  procession. 

The  music  written  for  Flora's  Awakening  by 
Richard  Drigo  is  scarcely  less  appropriate  than 
the  settings  and  costumes  reflected  by  the  art  of 
Mr.  Rothenstein.  Rich  in  melody,  abundant  in 
contrast  which  accurately  suggests  the  variety  of 
moods  revealed  in  the  action,  it  is  admirably  scored. 


One  of  the  finest  specimens  of  the  scenic-artist's  craft  yet  shown — the  setting  for  Flora's 
Awakening.      Designed  by  Albert  Rothenstein.  executed  by  W.  M.  Karvey 


Alexander  Volinine 
Premier  Danseur  Clasiique 


Some  Leading  Members  in  the  Company 

ALEXANDER  VOLININE,  premier  danseur  classique  of  the  Pavlowa 
.  Imperial  Russian  Ballet,  is  one  of  several  notable  personalities  who 
are  members  of  this  season's  important  organization.  This  fine  artist  still 
holds  his  post  of  premier  danseur  classique  at  the  Imperial  Opera  House, 
Moscow,  and  he  is  regarded  by  experts  as  one  of  the  first  two  or  three 
masculine  premiers  now  living.  Many  critics  feel  that  M.  Volinine  is  the 
most  graceful  classique  danseur  this  country  has  yet  seen,  and  that  his 
finished  methods  are  incomparable  among  his  colleagues.  Another  splen- 
did artist,  who  is  to  be  seen  as  a  soloist,  is  Tamara  Svirskaia,  also  a  gifted 
pianist,  and  first  gold-medalist  at  the  Munich  Academy  of  Music. 

As  the  master  who  guides  a  ship  is  all-important  to  its  successful  naviga- 
tion so,  too,  is  the  musical  conductor  of  a  great  ballet  organization  a 
dominant  factor  in  its  triumphs.  Once  again  this  position  will  be  filled 
by  Theodore  Stier,  conductor  of  the  London  Bechstein  Hall  Symphony 
Orchestra,  whose  splendid  abilities  have  been  fully  demonstrated  during 
previous  Pavlowa  tours. 

Two  other  members  of  Mile.  Pavlowa's  1914-1915  organization — mani- 
festly the  largest  and  greatest  she  has  yet  had — who  are  personalities  are 
Stephina  Plaskowieszka,  premiere  danseuse  classique,  and  Stasia  Kuhn, 
premiere  danseuse  caractere.  Miles.  Plaskowieszka  and  Kuhn  are  pre- 
mieres at  the  Warsaw  Imperial  Opera  House. 


MLLE.    pavlowa    in  the  morning-room  of  Ivy    House,  her  London  home.      This   photograph   vv.is   t.iken    the   morning  after   the  gala 

performance  at  the   Palace   Theatre  when   King  Alfonso,   of  Spain,   presented  the  distinguished  artist  with  a 

diamond  and' ruby  bracelet  designed  to  be  worn  about  the  ankle 


Puppen-Fee  (The  Fairy  Doll) 


MANY  years  have  elapsed  since  this 
charming  ballet  was  given  in 
America.  In  those  days  the  fanciful 
story,  and  the  details  surrounding  its 
unfolding  on  the  stage,  always  brought 
delight.  While  the  essentials  of  the 
original  Puppen-Fee  are  still  a  portion 
of  the  ballet  Mile.  Pavlowa  and  her 
company  are  re-introducing  here  this 
season,  the  arrangement  of  M.  Clustine 
(known  as  the  St.  Petersburg  version), 
and  the  almost  perfect  execution  by 
Mistislav  Dobuginsky  of  Bakst's  new 
idea  of  what  the  scenery  should  really 
be,  make  these  presentations  singularly 
unique. 

Each  of  the  two  different  scenes  of 
the  interior  of  a  Parisian  toy-shop  in  the 
early  thirties,  which  form  the  single  act 
of  Puppen-Fee,  are  splendid  examples  of 
scenic  art  as  promulgated  by  the  great 
Bakst.  The  vivid  contrasting  of  colors 
is  utilized  in  both  settings,  and  to  the  advantage 
of  the  pictures  which  the  artist  has  endeavored  so 
successfully  to  create.  With  this  background, 
against  which  M.  Dobuginsky  has  placed  a  sec- 
ondary color  scheme  in  the  treatment  of  the  cos- 
tumes, and  Joseph  Bayer's  melodious  music,  the 
principals  and  supporting  associates  appearing  in 
the  action  are  provided  with  every  factor  necessary 
for  their  purpose. 

This  action  receives  its  initial  impulse  as  the 
curtain  first  ascends.  The  shop-keeper,  busy  in 
making  his  wares  still  more  attractive,  moves 
swiftly  about.  A  customer  enters,  then  another, 
and    yet    one    more;     each    in    turn    receiving    the 


Second  scene  in  Puppen-Fc'e.     1  liu  .;.i 

her  wand.     Designed  by  Dobuginsky. 


In  Puppen-Fee,  that  admirable  artist.  Mistislav  Dobuginsky.  has  succeeded  in  depicting 
a  toy-shop  appealing  to  folk  of  every  age.     Executed  by  W.  M.  Harvey 


attention  due.  Finally  through  the  door  comes 
an  Englishman,  very  evidently  a  man  of  wealth, 
accompanied  by  his  wife.  He  makes  known  his 
desire  to  purchase  a  doll,  but  with  the  stipulation 
that  in  every  way  it  shall  be  unusual. 

Dolls  of  various  sizes  and  value,  one  after 
another,  are  shown  to  the  Englishman,  none  of 
which  particularly  appeal  to  his  fancy.  In  response 
to  an  inquiry  for  something  finer  the  shop-keeper 
admits  that  he  has  a  very  rare  doll,  but  that  he 
could  not  consent  to  part  with  her  unless  for  a  large 
consideration.  The  doll,  which  of  course  is  Puppen- 
Fee,  is  brought  out  for  the  Englishman's  inspection. 
Delighted,  he  pays  the  agreed-upon  price,  and  or- 
dering that  his  purchase  be  sent  to  his 
hotel  departs. 

The  second  scene  represents  another 
view  of  the  interior  of  the  toy-shop,  and 
takes  place  at  night  after  business  hours. 
In  the  midst  of  silence  Puppen-Fee,  con- 
scious that  she  must  take  leave  of  her 
companions  next  morning,  comes  from 
her  case  and  waving  her  fairy-wand 
turns  the  various  other  dolls  represent- 
ing types  of  many  nationalities  into 
animated  personages.  This  feature  is 
one  of  the  most  elaborate  ever  attempted, 
the  dancers  being  made  up  and  cos- 
tumed with  such  skill  that  the  illusion 
is  complete  to  the  last  detail.  Then  all 
participate  in  a  dance,  the  lights  grow 
fainter  and  Puppen-Fee  returns  to  her 
own  place.  The  role  of  the  Fairy  Doll 
is  one  of  the  best  in  Mile.  Pavlowa's 
repertoire,  and  in  it  her  success  has  been 
notably  pronounced. 


^■1  U;l-  i^j    ^i.'.p  ■.■....  ;.  liiL-  fair>'  doll  waves 
Executed  by  W.  M.  Harvey 


A 


mar  I 


11a 


THOUGH  given  but  a  single  performance  in 
this  country,  Amarilla  on  that  occasion  brought 
praise  from  the  critics  and  public  acclaim.  This 
single  presentation  took  place  in  the  spring  of 
1914.  at  New  York,  just  before  Mile.  Pavlowa 
closed  her  last  season.  One  of  the  strong  elements 
of  appeal  in  Amarilla  is  the  opportunity  given  for 
the  display  of  dramatic  pantomime  by  the  pre- 
miere danseuse. 

I  n  her  interpretation  of  the  character  of  Amarilla 
Mile.  Pavlowa  aroused  a  vast  audience  to  a  demon- 
stration such  as  seldom  takes  place  in  the  United 
States.  The  eloquence  of  her  miming,  to  many, 
was  a  revelation;  and,  in  conjunction  with  dancing 
in  which  she  introduced  several  novelties,  earned 
for  Mile.  Pavlowa  a  wealth  of  written  commenda- 
tion from  the  pens  of  the  seasoned  newspaper 
reviewers. 

The  music  created  for  Amarilla  by  those  three 
eminent  composers — Drigo,  Dargomiszki  and  Glaz- 
ounow — is  not  only  appropriate  and  well  made, 
but  it  is  of  a  style  that  is  generally  pleasing.  Quite 
as  pleasing,  to  the  visual  sense,  are  the  settings 
provided  for  the  single  act  by  Albert  Rothenstein. 
and  which  represents  a  fete  champetre  that  may 
be  likened  to  the  delicate  art  of  Watteau. 

Based  upon  the  text  taken  from  an  old  gypsy 


folk-song,  the  story  of  Amarilla  carries  the  gypsy 
flavor.  It  starts  in  the  garden  on  the  estate  of  a 
wealthy  countess  who  is  preparing  to  marry  a 
count,  who,  in  peasant  garb,  has  long  before  won 
the  love  of  Amarilla.  To  this  garden  the  gypsy- 
queen,  .Amarilla,  and  her  band  are  brought  to  lend 
festivity  to  the  occasion  by  their  dancing. 

Presently  comes  the  moment  for  the  telling  of 
fortunes;  and  then,  for  the  first  time,  Amarilla 
discovers  the  identity  of  her  long-missing  wooer. 
Astonished  at  her  discovery,  Amarilla  is  about  to 
speak,  when  warned  by  the  count  to  keep  silence; 
then,  stunned,  she  swoons.  To  avert  a  scene  the 
unheeding  nobleman  gives  gold  to  the  gypsy- 
queen's  brother,  and  commands  that  she  resume 
her  dancing. 

It  is  here  that  the  grief-stricken  gypsy  girl, 
deluding  herself  with  the  thought  that  she  may  yet 
regain  the  favor  of  her  peasant-count,  abandons 
herself  to  a  dance  of  unrestrained  wildness.  But 
its  end  merely  sees  the  count  escorting  his  fiancee 
from  the  garden.  Eager,  half-hoping  for  her 
count  s  return  the  gypsy  queen  waits,  and  at  last 
he  comes.  Instead  of  words  of  love,  however,  he 
brings  her  a  purse  of  gold.  Then  turning  abruptly 
he  leaves  to  rejoin  his  countess,  and  Amarilla  falls 
unconscious  to  the  ground. 


Les    Preludes 


ONE  ofjthe  most  pronounced  triumphs  ever 
attained  in  this  country  by  a  ballet  novelty 
came  last  season  to  Michael  Fokine's  arrangement 
of  his  conception  of  Lamartine's  Poetic  Medita- 
tions, and  called  Les  Preludes.  The  critical  opinion 
of  those  who  saw  Mile.  Pavlowa  and  her  support- 
ing organization  in  premiere  presentations  of  Les 
Preludes  was  that  it  was  a  masterpiece.  The  praise 
of  the  reviewers  was  equally  voiced  for  the  accom- 
plishment of  M.  Fokine,  the  stunning  setting  by 
Boris  Anisfeld  and  the  fitting  character  of  Liszt's 
third  symphonic  poem  for  the  musical  illustrations 
required. 

As  Liszt  himself  was  inspired  by  the  French 
poet's  work  to  compose  the  music  now  so  thoroughly 
known  in  the  concert-auditorium,  so,  also,  was  M. 
Anisfeld  stimulated  to  superlative  efforts.  This 
young  Russian  has  supreme  gifts,  and  among 
them  an  imagination  unusually  creative.  The 
single  picture  he  saw  he  transformed  to  canvas, 
a  poetic  bit  of  realism,  even  though  tinged  with 
futurism,  in  which  the  greens  and  violets  effect- 
ively contrast,  under  clever  lighting  effects,  with 
the  reds  and  yellows. 

The    scene    presented    at    the    curtain's    rise    is 


screened  by  the  darkness  that  foreshadows  dawn. 
As  the  first  tiny  beams  of  light  disclose  the  picture 
it  reveals  human  tranquillity;  and  almost  imme- 
diately feminine  figures  representing  Beauty.  Light 
and  other  attributes  and  emotions  in  the  joys  of 
Life  make  known  their  presence.  There,  too.  is 
Man  contentedly  reclining  at  the  side  of  his  beloved. 

Presently,  among  the  rocks  in  the  background, 
gather  the  phantom-like  figures  typifying  the 
powers  of  Darkness;  but  until  Light  and  Joy  have 
been  vanished  by  Darkness  and  Death.  Man  and 
his  consort  are  aware  only  of  Happiness  and  Light 
and  Peace.  It  is  then  that  Man,  finding  himself 
alone  with  Darkness,  undertakes  the  enforced  con- 
flict. Strengthened  and  guided  by  the  power  of 
Love,  he  musters  to  his  aid  those  sterling  qualities 
without  which  there  is  no  true  manhood,  and  in  the 
end  is  triumphant. 

Though  victorious  Man  sees  Life  anew,  dis- 
covering it  to  be  different  from  the  tranquil  exis- 
tence he  had  imagined.  Thus  disconsolate,  he 
seeks  a  resting  place  where  Love  and  her  hand- 
maidens—  the  daughters  of  Beauty  and  Light — ■ 
return  to  heal  his  wounded  soul.  Then  does  Love 
again  reign  supreme. 


C    5 

E 

CQ  ^ 

c 

H 


The  Seven  Daughters  of  the  Ghost  King 


MYTHOLOGICAL  fragments  have  always 
offered  wide  possibilities  for  use  as  the  basis 
of  choreographic  endeavors.  The  Seven  Daugh- 
ters of  the  Ghost  King,  as  many  persons  will  dis- 
cover, bears  in  one  respect  sufficient  resemblance 
to  Wagner's  music  drama.  Die  Walkuere,  to  call 
it  to  mind.  Here,  however,  the  similarity  ends; 
for  each  is  complete  within  its  own  artistic  sphere. 

Though  not  an  opera,  this  new  ballet  is  decid- 
edly operatic.  The  arrangement  composed  by 
Michael  Fokine,  maitre  de  ballet  at  the  Imperial 
Opera  House,  St.  Petersburg;  the  music  written  for 
the  work  by  Alexander  Spendiarow,  and  the 
scenery  and  costumes  prepared  by  Boris  Anisfeld 
have  all  been  combined  into  a  choreographic 
unit  of  a  sort  such  as  Russians,  alone,  seem  capable 
of  creating.  In  other  words,  unaided  by  a  de- 
claimed text,  these  gifted  people  seem  whenever 
they  try  to  succeed  in  joining  the  arts  of  music, 
drama,  painting  and  architecture  in  a  way  that 
each  merges  perfectly  into  the  other. 

The  story  of  The  Seven  Daughters  of  the  Ghost 
King  concerns  the  ruler  of  the  Djinns,  the  lovely 
septet    he    has    long    guarded    from    contact    with 


mortal  masculinity — and  the  uncontrollable  pas- 
sion, love.  Restrained  within  the  King's  castle  on 
a  mountainous  peak  accessible  alone  to  immortal 
heroes,  these  women  have  passed  their  days.  Ma- 
tured, their  souls  become  filled  with  a  longing  that 
cannot  be  satisfied  from  the  pleasures. of  game- 
playing  in  the  garden. 

But  one  bright  morning,  during  the  King's 
absence,  a  mortal  prince,  known  as  Hassam, 
reaches  the  outer  gates.  His  followers  are  with  him, 
and  thus  besought  the  maidens  grant  them  admis- 
sion. Impressed  by  the  attractiveness  of  their 
visitors,  six  of  the  King's  daughters  join  with 
them  in  a  dance  of  rejoicing.  Only  one.  Crystal 
Spring,  the  youngest  of  the  sisters,  refrains;  but 
standing  there  she  has  fallen  in  love  with  Prince 
Hassam.  In  the  midst  of  the  dance  the  King  sud- 
denly returns,  and  in  anger  employs  magic  fire — 
as  does  Wotan  in  Die  Walkuere — to  destroy  the 
six  errants.  Left  alone,  there  is  no  peace  for 
Crystal  Spring.  Life  without  her  sisters  and  with- 
out love  holds  nothing  for  her;  and  loving  Prince 
Hassam  with  him  she  dances  a  dance  of  death,  and 
dies. 


The  Magic  Flute 


THERE  should  be  no  confounding  of  the  ballet. 
The  Magic  Flute,  with  Mozart's  opera  of  that 
title.  Each  is  wholly  different  from  the  other  in 
substance,  even  though  of  some  slight  resemblance 
in  the  matter  of  the  instrument  which  sets  to 
dancing  all  who  hear  its  tones  save  the  one  who 
plays  it.  The  single  scene  in  The  Magic  Flute 
shows  a  bit  of  outdoors  in  a  French  village  in  the 
time  of  Louis  XV.  The  chief  persons  in  the  story 
are  Lise,  a  farmer's  daughter  (Mile.  Pavlowa),  and 
Luc,  a  youth  who  works  beside  her  in  the  fields. 
Like  many  another  couple,  they  experience  diffi- 
culty with  their  course  of  love  which  does  not  run 
smooth. 

As  the  scene  opens  a  large  number  of  peasants 
are  gaily  drinking  beer  dispensed  to  them  by  Lise's 
mother  as  a  reward  for  well-performed  tasks.  In 
the  excitement  Lise  motions  surreptitiously  to  Luc 
to  join  her,  and  directly  they  take  part  in  the  danc- 
ing. As  they  do  so  a  footman  of  the  marquis 
enters  bearing  a  message  announcing  that  his 
master  will  shortly  appear  to  choose  a  bride  from 
among  the  maids  of  the  village,  and  almost  imme- 
diately the  old  marquis  himself  hobbles  into  view, 
and  seeing  Lise  instantly  declares  she  is  the  bride 
he  seeks. 

Disconsolate,  the  boy  sits  on  the  steps  of  his 
sweetheart's  dwelling  and  sitting  there  he  sees  an 
aged  hermit  also  turned  from  the  door  by  the 
irritable  farmer's  wife.     Seeing  another  in   trouble 


similar  to  his  own  Luc  goes  to  his  rescue,  and  find- 
ing him  in  need  of  money  he  tenders  the  hermit 
his  last  coin. 

Learning  the  cause  of  Luc  s  unhappiness  the 
hermit  gives  Luc  a  flute  he  is  carrying,  and  the 
youth  seeing  an  inscription  on  it  reads:  "Play  on 
this  and  everybody  will  be  forced  to  dance.  It  will 
bring  you  luck.  "  Smiling.  Luc  turns  to  address 
his  companion  and  then  discovers  that  he  has 
mysteriously  vanished.  Putting  the  flute  to  his 
lips  Luc  pipes  a  tune  and  Lise  appears,  dancing. 
As  she  is  informed  of  the  qualities  of  the  new  gift 
her  mother  and  the  marquis  appear,  followed  by 
servants  armed'  with  brooms  and  sticks.  Instead 
of  attacking,  however,  they  are  moved  to  dance. 

The  marquis  charges  Luc  with  sorcery  and  calls 
the  gendarmes  to  arrest  him.  Luc  plays  and 
again  everybody,  including  the  gendarmes,  prance 
about.  After  a  time  Luc  is  disarmed  of  his  magic 
flute  and  taken  before  the  judge  who  orders  a  test. 
Its  certain  power  compels  everybody  to  dance,  and 
the  judge,  his  dignity  outraged,  condemns  Luc  to 
death.  But  now  the  notes  that  had  proceeded 
from  the  magic  flute  are  heard  elsewhere,  and  the 
bewildered  assemblage  behold  Oberon.  in  splendor, 
standing  above  them.  He  reveals  himself  as  the 
hermit  that  day  cast  out  by  the  farmer's  wife,  and 
she,  asking  forgiveness,  receives  it  on  condition 
that  she  will  no  longer  bar  the  way  to  the  marriage 
of  the  young  sweethearts.  Lise  and  Luc. 


Raymonda 


PAVLOWA,  ever  the  mistress  of  novelty  and 
ever  the  artist  supreme,  has  this  season  in- 
cluded in  her  repertoire,  already  astoundingly 
large,  the  ballet  "Raymonda,"  perhaps  one  of  the 
most  noted  choreographic  dramas  ever  produced. 

Never  before  has  "Raymonda"  been  presented 
outside  of  Russia  itself:  for  it  is  the  one  ballet  most 
highly  prized  and 
most  carefully  guard- 
ed in  the  archives  of 
the  Imperial  Russian 
Opera. 

The  sujet  or  scen- 
ario for  "Raymonda' 
was  conceived  origin- 
ally by  Marius  Peti- 
pas  and  Lydie  Pach- 
koff.  The  music  was 
composed  by  Alex- 
andre Glazounoff  in 
the  prime  of  his  life 
when  he  was  at  the 
height  of  his  artistic 
career.  The  music  is 
operatic,  and  every 
dance  figure  and 
every  mood  that  the 
dancers  are  called 
upon  to  express,  has 
its  synchronous  re- 
sponse   in    the    score. 

M.  Clustine  rear- 
ranged "Raymonda," 
shortening  it  from 
three  acts  and  five 
scenes  to  two  acts. 
It  is  the  Clustine 
version  that  Pav- 
lowa  uses.  The  dra- 
matic, musical  and 
choreographic  essen- 
tials have  been  faith- 
fully preserved  and 
the  Clustine  version 
has  been  termed  by 
critics  even  more  effec- 
tive than  the  original. 

The  locale  of  "Raymonda"  is  in  the  south  of 
France  during  the  Crusades  and  the  Quest  of  the 
Holy  Grail.  In  those  olden  days  belief  in  the 
miraculous  power  of  certain  images  was  deep 
rooted.  One  of  these  images  was  the  Lady  in 
White.  It  was  believed  that  whenever  danger  of 
any  kind  threatened  owners  of  a  certain  estate, 
the  statue  came  to  life,  and  with  magic  power 
banished  the  workers  of  evil. 

The  ballet  opens  with  a  scene  in  the  interior  of  a 
mediaeval  castle  the  day  prior  to  the  wedding  of 


MLLE   ANN 
M      ALEXAN 


Raymonda.  Preparations  are  being  made  for  the 
nuptial  festivities.  Raymonda's  aunt,  a  young 
widow,  the  Countess  Sybilla,  enters  accompanied 
by  her  chamberlain.  Raymonda's  friends  beg  the 
Countess  to  tell  them  the  legend  of  the  Lady  in 
White.  The  young  people  scoff  the  story,  and 
treat    it    as    a    joke,    while    dancing    around    her. 

While  Raymonda  is 
greeting  her  friends,  a 
knight  enters  with  a 
message  from  her  be- 
trothed, Jean  de  Bri- 
enne.  As  she  con- 
cludes reading  the 
message,  and  while 
Raymonda,  as  well 
as  her  friends,  are 
dancing  with  joy,  the 
chamberlain  enters 
and  reports  that  a 
strange  Mauritanian 
knight,  Abdurach- 
man,  waits  without 
the  castle  gates  and 
begs  an  audience. 
Raymonda  and  her 
aunt  are  somewhat 
surprised  at  the  un- 
expected visit,  but 
with  their  usual  hos- 
pitality they  bid  the 
chamberlain  escort 
Abdurachman  within. 
Abdurachman  ex- 

plains that  he  has 
heard  of  the  grace  and 
beauty  of  Raymonda 
and  that  he  wishes 
to  pay  his  respects. 
The  nuptial  cele- 
bration begins  and 
Abdurachman  is  pre- 
vailed upon  to  remain. 
Raymonda's  friends 
dance  first  and  then 
she  joins  them.  Ab- 
durachman is  en- 
chanted by  Raymonda  and  he  orders  his  attendants 
to  bring  a  chest  of  valuables.  He  begs  Raymonda 
to  choose  her  own  present,  but  she  refuses  the  offer 
indignantly.  The  dancing  ceases:  it  grows  dusk 
and  all  retire.  The  Countess  informs  Abdurachman 
that  an  apartment  in  the  castle  is  in  readiness  for 
him. 

Raymonda  lingers  with  her  friends.  A  harp  is 
brought  to  her  and  she  begins  to  play,  asking  some 
of  her  friends  to  dance  for  her.  Finally  the  ecstasy 
of  the  dance  overcomes  her  and  she  herself  dances 


A    PAVLOWA 
DRE   VOLININE 


while  another  friend  plays  the  harp.  Raymonda 
fatigued  from  dancing  throws  herself  upon  a  couch 
and   falls   asleep. 

Suddenly  Raymonda  wakes  and  sees  the  Lady 
in  White  leave  her  pedestal.  Raymonda  is  terrified, 
and  she  cannot  move.  The  Lady  in  White  ap- 
proaches Raymonda  and  commands  her  to  follow. 
Together  they  pass  into  a  beautiful  garden,  Ray- 
monda walking  as  though  hypnotized. 

The  second  act  is  laid  in  the  castle  garden,  over 
which  the  moon  casts  fantastic  rays.      Raymonda 
sees  in  her  vision  her  fiance. 
Jean  de  Brienne,  surrounded 
by     his     knights     and     en- 
tourage.       The     Trumpeter 
of      Fame      announces      the 
triumphs  of  Jean  and  a  cele- 
bration    begins.  In     the 
merrymaking    and    dancing 
which     follows,     Raymonda 
joins.       Suddenly   the  moon 
is    blotted     out    and     all    is 
inky  darkness.     Raymonda's 
friends  disappear.     She  feels 
the  arms  of  a  man  about  her, 
and   as  a   fitful   ray  of  light 
plays   upon    the   face  of   the 
man,  she  recognizes  him  as 
Abdurachman.      In    desper- 
ation she  frees  herself  from 
him    and    tries    to    escape. 
Abdurachman    tells    in    pas- 
sionate    pantomime    of    his 
love  for  Raymonda,  but  she 
repulses    him    and    declares 
that     she     loves     only     her 
betrothed,  Jean  de  Brienne. 
Becoming    enraged,    Abdur- 
achman draws  his  sword  and 
approaches  Raymonda.     As 
he  is  about  to  thrust  it  into 
her  body,  he  is  again  struck 
by  her  beauty.     The  sword 
falls  from   his  hand   and   he 
rushes  to  Raymonda  as  she 
falls  in  a  swoon.   The  vision  changes  once  more.    Ab- 
durachman  has  disappeared.      Raymonda  tries  to 
flee  from  the  garden,  but   elfish   sprites   rise   in   her 
path  and  dance  around   her.       She  cannot  break 
through    the    ring.        Overcome    by    fear    and    ex- 
haustion   she    falls    fainting.      Gently    the    sprites 
carry  her  to  a  bench,  the  sun  rises,  and  the  glory 
of    the    morning    comes    to    dissipate    Raymonda's 
dream.       Raymonda's    attendants    failing    to    find 
her,    rush   into    the    garden    where    they    discover 
her  peacefully  sleeping.     As  she  wakes  she  explains 
to  them  what  has  happened,  and  they  vow  never 
again  to  make  light  of  the  legend  and  the  powers 
of  the  Lady  in  White. 


Chopiniana 


PAVLOWA 
The  Incomparable 


IT  remained  for  a  Russian  master  musician,  a 
Russian  ballet  master,  and  a  Russian  choreo- 
graphic artist,  combined,  to  blend  the  wonderful 
poetic  melodies  of  the  Polish  master,  Chopin,  into 
the  semblance  of  a  ballet.  The  musician  is  Glaz- 
ounofl;  the  ballet  master,  Clustine;  and  the  artist, 
the  Incomparable  Pavlowa.  The  result  of  this  com- 
bination of  artistic  talent  is  a  novelty  of  entrancing 
worth    and   a   most    unusual   choreographic   effort. 

Chopin  composed  prima- 
rily for  the  piano,  but  he  was 
essentially  a  masterof  moods, 
and  so  in  the  series  of  nine 
dances  arranged  by  M.  Clus- 
tine, the  genius  of  the  great 
Pole  finds  new  and  irresistible 
beauty  through  the  creative 
inspiration  which  Pavlowa 
brings  to  each  separate  num- 
ber. It  was  Glazounoff  who 
arranged  the  various  Chopin 
works  into  musical  form  for 
ballet  purposes. 

"Chopiniana'  'is  based  upon 
etudes,  preludes,  mazourkas 
and  waltzes,  ranging  from 
the  stately  measures  of  the 
famous  Polonaise  in  A- 
Major  through  the  delicate 
strains  of  a  nocturne  and  a 
waltz  to  the  lilt  of  a  mazour- 
ka  or  a  prelude,  or  the  be- 
witching undulations  of  the 
famous  D-Flat  Major  waltz. 
Each  of  the  numbers  in 
"Chopiniana  "  is  strikingly 
beautiful  and  each  is  com- 
plete in  itself  as  a  dance, 
yet  each  is  connected  with 
the  others  by  a  subtle  link 
of  rhythmic  buoyancy.  The 
very  essence  of  Chopin  s 
genius  is  etched  like  a  bas- 
relief  with  a  musical  background.  It  is  the  inherent 
interpretative  quality  of  the  great  master's  compo- 
sitions which  makes  them  lend  themselves  so  readily 
for  Pavlowa's  purposes.  They  are  eminently  suit- 
able for  expressive  dancing.  Nine  separate  works 
comprise  the  basis  of  "Chopiniana." 
These   are:       I.   Polonaise  in  A-Major 

2.  Prelude.  Opus  28,  No.   17 

3.  Valse,  Opus  64,  No.  62 

4.  Mazourka,  Opus  33,  No.  4 
3.   Prelude,  Opus  28,  No.  7 

6.  Valse.  Opus  34,  No.  2 

7.  Mazourka,  Opus  67,  No.  3 

8.  Valse,  Opus  12.  No.  4 

').    Mazourka,  Opus  33,  No.  2 


Pavlowa  in  Modern  Social  Dances 


The  Pavlowana 


Beginning  the  first  new  social  dance.  The 
Pavlowana.     A  step  forward,  with  dip 


MLLE.    PAVLOWA    performed    a    number    of    very    important 
tasks  during  the  summer  of  1914.      Some  concerned  the  accep- 
tance   of    new    ballets;  some  had   to  do  with  costumes  and  scenery 

for  these  ballets  and   for   the  divertissement  novelties  which  are  all 

being  introduced  in  America  this  year  for  the    first  time  anywhere, 

and  other  of   these   important   tasks   related   to   the  membership  of 

Mile.   Pavlowa's  carefully  formed  organization.      But  none  of  these 

matters    was    approached    by    the    premiere    danseuse  with    an    en- 
thusiasm greater  than   that  shown   in  creating   the   three  new  social 

dances,   which  she  herself  and  every  member  of    her  company    are 

presenting  on   this   tour  at  every    performance. 

The  first  of   these  new    dances    is  entitled  The   Pavlowana.      It 

is  Spanish  in  character  and    is    in    some   respects   a   little   like   the 

maxixe,  though  in  a  basic   way  different.      Retaining  the  fundamen- 
tal excellences   of  these  dances,  The  Pavlowana    has  been  developed 

chiefly  to  afford   satisfaction  to  those  engaged    in    dancing    it    and, 

also,  to  permit  the  various  figures 
to  be  executed  in  a  manner  that 
is   visually   artistic.      It  will  be 

readily  seen,  as  Mile.  Pavlowa  and  M.  Clustine  interpret  the  Pav- 
lowana, that  every  step  and  pose  is  well  within  the  abilities  of  the 
average  dancer  and  that  the  entire  dance  serves  as  a  distinct  aid 
toward   the  cultivation  of  bodily  ease,  repose  and  grace. 

Danced  in  two-four  time,  moderate.  The  Pavlowana  requires 
preparation  by  each  of  the  two  partners  consisting  of  assuming 
an  attitude  bringing  the  lady  and  her  escort  side  by  side,  she  rest- 
ing her  left  hand  in  that  of  the  gentleman's  right.  As  the  rhythm 
becomes  firmly  fixed,  and  while  the  dancers  are  in  the  relative 
position  shown  in  photograph  number  one  on  this  page,  both  take 
a  fairly  long  step  forward.  This  step  is  begun  by  the  lady  on  her 
right  foot  and  by  the  gentleman  on  his  left,  the  knee  of  the  advanc- 
ing foot  being  bent  to  enable  a  dip.  The  dancers  now  proceed 
with  two  additional  forward  glides  during  which  the  foot  on  which 
the  glide  is   taken  is   kept  flat   upon  the  floor. 

When  three  such  forward  steps  have  been  performed  the  dancers 
pause,  the  lady  supporting  the  weight  of  her  body  on  her  right 
foot,  the  gentleman  performing 
the  same  service  with  his  right. 
Each  partner  now  advances  the 
other  foot,  the  toe  being  pointed 
and  with  the  arms  nearest  each 

other  brought  aloft,   as  displayed  in   photograph   number  two,    and 

in  this  pose  preparation  is  made  for  the  formal   salutation  which  is 

clearly  shown  in  photograph   number   three.       From   this  salutation 

the    partners    continue    The    Pavlowana    through   figures   two    and 

three — in  which    the  positions  are  both  open   and    close — to     figure 

four.       This  last  figure  consists  of  a  pretty  and  simple  turn  by  the 

lady  who  is  assisted  by  her  partner. 

The   fifth    and    final    figure   of   The    Pavlowana    starts    with     the 

lady   and  gentleman  poised  as  shown  in   photograph    number  four, 

from   which   position  a  change  is  made  that   reverses  the  lady  to  the 

opposite  side,    in    which  her   back   instead    of   her   face  is   then   pre- 
sented.    As   she   changes    places    the   gentleman    does    likewise,    the 

partners  altering  the  poses  of  the  arms  so  that  the  escort  takes  with 

his  elevated  left  arm,  which  is  carried  back  on  his   head,  the  uplifted 

right    hand   of   his   lady;    and   as   he   does    so    he    extends    his    right 

arm  forward  across  the  back  of   his   partner,   clasping  with    his  right  3    a  formal  salutation,  required  ,n  the  Pav 

the   left    hand    of    the  lady.       From   this  position  the  gentle-  lowana,  which  demands  stately  grace 


2.   Buoyancy   should  be  th"  keynote  in  this 
pose  in  the  delighiful  Pavlo\^/ana 


hand 


man  now  assists  his  partner  to  step  to  her  right  until  she  stands 
slightly  in  front  of  him,  when  the  couple  is  then  prepared  to  resume 
the  position  shown  in  photograph  number  one  and  recommence 
the   dance. 

One  of  the  most  delightful  dance  compositions  of  the  year  is 
being  used  by  Mile.  Pavlowa  for  The  Pavlowana.  This  music, 
which  was  written  by  Edward  C.  Moore,  of  Chicago,  was  awarded 
one  of  the  three  cash  prizes  of  $500  offered  by  Mile.  Pavlowa  for  a 
suitable  musical  work  for  this  purpose.  This  competition,  which 
was  open  solely  to  American  musicians,  brought  over  three  hundred 
manuscripts  to  the  Russian  premiere  danseuse  during  the  summer 
of  1914,  and  Mr.  Moore's  music,  together  with  that  composed  by 
others,  gained  the  $  1 ,  500  awards,  comprising  three  prizes  of  $500  each. 

The  Czarina  Waltz 

MLLE.    PAVLOWA'S    principal    endeavor,    in     originating     the 
Czarina   Waltz,    has  been   to   devise    a    social-dance    of    abun- 
dant variety   which,   while  effective,   would   not   be   too  difficult  for 

dancers    of    moderate     abilities. 


■1.   The   last   Pavlowana  pose.        The    lady 
and  her  escort  preparing  to  recommence 


The   existing   tendency   is  in  the 
direction    of   figures  and  steps  of 

fancy  and  semi-fancy  character,  and  to  create  them  Mile.  Pavlowa 
has  spared  no  ingenuity.  But  they  will  be  found,  in  the  Czarina 
Waltz,  to  be  uncommonly  beautiful  to  the  eye  and  to  be  so  fash- 
ioned that  each  progresses  naturally  into   the  one  that  follows. 

The  Czarina  Waltz  was  designed  to  preserve  all  the  admirable 
features  of  the  original  waltz,  one  of  the  most  important  being 
the  strong  rhythmic  quality.  In  the  old-fashioned  waltz,  how- 
ever, the  lack  of  contrast  in  steps  and  of  variety  for  the  dancers 
made  it  what  one  might  term  colorless.  Mile.  Pavlowa's  Waltz 
will  be  found  to  possess  qualities  of  genuine  appeal,  one  of  the 
most  conspicuous  being  that  it  requires  those  who  execute  it 
to  reflect  three  different  kinds  of  spirit  in  each  of  the  three  divisions 
of  the  dance. 


I.   Starling  the  Czarina  Waliz.      The  lady 
moving  forward,  her  partner  backward 


In  these  divisions  there  are 
containing  two,  the  second  divi- 
sion three  and  the  third  divi- 
sion three  figures,  in  which  are 
fourteen  steps.  To  properly  per- 
form the  Czarina  Waltz  the 
dancers  should  give  the  intro- 
ductory division  in  a  dreamy  fashion,  the  second  division  with 
gaiety  and  the  closing  one  with  as  much  abandon  as  is  possible 
without  exaggeration.  These  points  must  be  borne  in  mind  by 
those  who  dance  the  Czarina  Waltz,  otherwise  its  true  spirit  will 
not  be  given.  A  careful  observation  of  the  interpretation  of  this 
dance  by  Mile.  Pavlowa  and  her  partner,  M.  Clustine  (who  posed 
for  the  photographs  herewith  shown)  will  reveal  the  advantages  of 
denoting  the  different  spirits  at  the  requisite  moments. 

Assuming,  now,  that  a  cavalier  and  his  lady  are  preparing  to 
dance  the  Czarina  Waltz.  As  photograph  one  indicates,  the  feminine 
dancer  takes  an  attitude  that  is  buoyantly  erect  and  almost  oppo- 
site her  partner.  By  standing  a  trifle  to  his  right  she  can  readily 
rest  her  right  elbow  and  hand  on  the  right  shoulder  and  arm  of 
her  escort.  Both  dancers  are  supporting  the  weight  of  their  bodies 
on  their  left  feet  and  pointing  the  toes  of  their  right.  The  first 
step  the  lady  takes  is  forward  on  her  right  foot,  and  as  she  does 
so  the  cavalier,  whose  right  hand  is  at  the  waistline  of  his  partner 
just   above   her   left    hip,    moves   backward  on  his  left  foot.      In    this 


fourteen    steps:    the   first    division 


A  graceful  Czarina  Waltz  turn,  executed 
by  the  lady  with  her  escort's  aid 


position  the  dancers  rise  and  lower  on  the  toes  of  both  feet  in 
strict  time  to  the  music.  r  r       •    •  in 

The  next  step  in  the  Czarina  Waltz  asks  more  of  femmme  skill 
than  of  masculine.  Extending  her  left  hand  so  it  may  be  taken  in 
the  right  hand  of  her  escort,  the  lady  commences  a  graceful  turn 
to  her  left.  She  passes  under  an  artificial  arch  caused  by  her  own 
elevated  arm  and  that  of  her  partner,  who  has  the  task  of  helping 
the  lady  in  maintaining  her  poise  as  she  revolves  in  a  complete 
circle  on  the  left  foot,  using  short  step  with  the  right  to  effect  the 
turn.  As  he  aids  his  lady,  the  cavalier  stands  firmly  on  both  feet, 
with  his  left  hand  on  his  left  hip.  The  photograph  bearing  the 
number  two  indicates  the  correct  execution  of  this  step. 

When  the  lady  has  completed  the  circle  she  continues  on  past 
her  partner  so  that  she  may  take  a  position  at  his  left  side.  As 
she  does  so  she  places  her  right  hand  in  his  extended  right,  lifts 
her  left  arm  over  her  head  and  inclines  her  head  and  body  to  the 
right.  She  is  now  changing  her  manner  from  the  dreamy  to  the 
gay,  and  as  her  partner  takes  with  his  elevated  left  hand  that  of 
his  lady  both  dancers  maintain   their  poise  on    their   left   feet,   and 

raise  their   right  leg^    j^^j^g  ^^^^. 


the    toes   of   their 


3.   PoisfH 

another  figure 


,U^  dancers   are    ready  !o  begin 
the  Czarina  Waliz 


4. 


Swinging    into    the    final   figure    of    the 
Czarina  Wahz.  a  hesitation  step 


ful    to    point 

feet  Th      , 
right  ^  dancers  are  now 

ready  to  mo^e  forward. 

This  next  step  is  one  extremely  graceful  to  perform  and  gives 
every  chance  for  the  display  of  bodily  grace  and  repose.  It  pro- 
vides, further,  for  lightness,  and  in  conjunction  with  the  other 
figures  of  this  second  division  is  unusually  attractive.  Photograph 
four  presents  Mile.  Pavlowa  and  M.  Clustine  at  the  beginning 
at  the  final  figure  of  the  Czarina  Waltz.  After  open  and  semi-open 
positions  the  dancers  now  swing  into  a  waltz  in  which  there  is  a 
"hesitation-pause"  and  other  features  of  marked  interest  to  pro- 
gressive social  dancers.  Henry  B.  Ackley,  of  Waukesha,  and  Harry 
B.  Auracher,  of  Chicago,  wrote  the  Czarina  Waltz  music  which 
gained  this  $500  prize. 

Gavotte  Renaissance 

THE  third  of  the  social  dances  devised  during  the  summer  of 
1914  by  Mile.  Anna  Pavlowa  is  the  Gavotte  Renaissance. 
This  should  not  be  associated  with  the  Pavlowa  Gavotte,  which 
the   Russian    premiere  danseuse 


originated  a  year  ago  and  which, 
was  regarded  as  the  most  popu- 
lar of  the  new  and  original 
dances.  The  Gavotte  Renaissance  is  composed  to  the  same  metrical 
time  as  its  predecessor,  but  there  is  so  little  resemblance  between  the 
two  that  each  may  be  regarded  as  independent  of  the  other.  From 
the  standpoint  of  completeness,  the  new  Gavotte  represents  the 
highest  point  in  a  dance  of  this  character. 

The  beginning  of  the  Gavotte  Renaissance  finds  the  cavalier 
and  his  lady  standing  side  by  side,  at  some  little  distance  from 
each  other.  Their  hands  are  crossed,  the  lady's  left  extending 
almost  straight  out  at  right-angles  to  her  body  and  over  the 
right  arm  of  her  cavalier.  With  their  feet  together,  and  flat  on 
the  floor,  the  dancers  then  assume  the  positions  shown  in  photo- 
graph number  one,  which  represents  Mile.  Pavlowa  and  M.  Clustine 
starting  the  first  step  of  this  delightful  dance.  As  the  right  leg 
is  lifted  from  the  floor  each  dancer  shifts  the  weight  of  the  body 
to  the  opposite  foot,  and  as  the  rhythm  of  the  music  becomes 
firmly  established  the  forward  step  is  taken. 

As   the  figures  of  the  Gavotte  Renaissance  progress  it  becomes 


I.   Taking    the    first   step    in    the    Gavotte 
Renaissance,  forward  to  the  right,  and  a  dip 


apparent   that   this  is  a  dar.ce  that,   despite  its  many  steps,  can   be 

executed  by  the  average  social-dancer.     The  complete  and  semi-  open 

positions  prevail  for  the  greater  part  of   the   early    figures,    and    in 

them    there    is    a    constant   shifting  of   poses   that  lends  interest   to 

dancer  and  spectator.    One  of  the  most  effective  figures  is  the  for- 
ward and  back  chasse-balance,    undeniably    simple    yet  sufficiently 

out  of   the   ordinary   to   be  of  popular  nature.     This  chasse-balance, 

at   one  of   the  important   points,  is  displayed  in  photograph  number 

two,   which    was    especially    posed    for    by    Mile.    Pavlowa  and  M. 

Clustine. 

This  figure  starts  with   the  cavalier  and  his  lady  standing   facing 

each   other,   and   at   a   distance  of  several   feet.     The  lady  gives  her 

left  hand  to  her  partner,   at   the  same   time  dropping   her  right  arm 

to  her  side,  supporting   the  body  on  the  right  foot  and  pointing  the 

toe  of   the  right.       The  cavalier  leans   back,    standing    firmly    upon 

the  right  foot,  and  with   the  heel  of  his  left  raised  slightly  from    the 

floor  he    raises    the  hand  of    his  lady  to  the  height  of  his  shoulder. 

In  the  position  just  described  the  lady  and  her  escort  are  now  ready 

for    the    forward     part     of      the 
chasse-balance. 

To  accomplish  the  figure  with 
all  the  flourish  essential  each 
dancer    strides    forward    on    the 

left  foot,  which  is  carried  along  the  floor  instead  of  being  lifted. 
The  buoyancy  with  which  this  stride  is  taken  gives  it  its  proper 
character,  and  it  should  be  accomplished  with  bodily  lightness 
and  spring.  As  the  dancers  reach  the  full  limit  of  the  forward 
stride — which  should  not  be  too  long — they  raise  their  left  arms, 
as  is  depicted  in  photograph  number  two,  and  inclining  their 
bodies  forward  permit  only  the  toes  of  their  right  feet  to  touch  the 
floor. 

Photograph  number  three  presents  Mile.  Pavlowa  and  M. 
Clustine  in  a  cross-over  step  which  is  catchy  to  watch,  artistic  to  a 
degree  and  makes  possible  a  most  engaging  dance  figure.  This  par- 
ticular step  demands  an  easily  held  torse,  looseness  from  the  waist 
down  without  rigidity  and  a  nice  adjustment  of  all  the  arm  and  leg 
muscles.      The    Gavotte   Renaissance  is  danced   to  the    composition 

3.  One    b.t   of  an    effective    fgure   .n   ihe        written  by  Philip  1.  Jacoby,  of  San  Francisco,  California,  who  is  the 
Gavotte  Fkenalssance.     Shifting  positions  third  American  composer  to  receive  an  individual  cash  prize  of  $500. 


2.   Another  portion  of  the   Gavotte  Fkenais- 
sance;  forward  and  backward  chasse 


The    Rythmikon 


HISTORY  will  record  the  year  1914  as  being 
the  year  of  upheaval  in  all  governmental  and 
human  activities.  Even  in  music,  revolutionary 
progress  is  being  made  in  the  field  of  education. 

The  advent  of  the  Rythmikon  has  stirred  the 
greatest  musical  educators,  performers  and  con- 
ductors to  pronounce  it  "the  greatest  musical 
invention  of  the  age."  By  means  of  the  Rythmikon 
any  musical  rhythm,  no  matter  how  complex,  is 
presented  both  audibly  and  visibly,  so  that  those 
beginning  the  study  of  music  and  those  whose 
sense  of  time  and  rhythm  is  defective  have  in  this 
instrument  an  infallible  guide  to  lead  them  out 
of  their  difficulties.  The  impression  made  on  the 
mind  by  the  Rythmikon  is  so  profound  that  in  a 
short  time  the  sense  of  time  and  rhythm  is  culti- 
vated to  an  astonishing  degree,  rendering  progress 
in  study  far  more  rapid.  Some  of  the  greatest 
artists  have  declared  that  through  constant  public 
playing,  rhythmic  faults  creep  into  their  work,  and 
these  very  artists  are  enthusiastic  welcomers  of 
the     Rythmikon     as     the    only    existing    scientific 


means  of  re-quickening  this  sense,  and  is  consid- 
ered as  an  essential  which  in  the  future  they  will 
frequently  use. 

It  must  not  be  thought  that  this  new  and  aston- 
ishing device  is  just  one  more  complication  added 
to  the  already  difficult  study  of  music;  on  the  con- 
trary it  is  simplicity  itself.  Its  effect  on  the  child- 
mind  is  extraordinary,  proving  attractive  and 
illuminating  to  a  degree. 

Its  use  removes  the  greatest  annoyance  to  both 
pupil  and  teacher — constant  squabbling  over  time 
and  rhythm,  and  makes  the  study  of  music  a  pleas- 
ure   instead    of    what    it    too   often    is — a    penance. 

Information  may  be  obtained  from  The  Ryth- 
mikon Corporation,  Metropolitan  Opera  House 
Bldg.,  New  York  City. 

Pavlowa,  Toscanini,  Muck,  Stransky,  Dam- 
rosch,  Hofmann,  Bauer,  Kreisler,  Kneisel,  and 
hundreds  of  others  have  endorsed  the  Rythmikon 
absolutely  and  unreservedly  as  being  the  greatest 
step  forward  in  the  study  of  music  that  has  been 
taken  in  the  last  hundred  years. 


.!ii|i;iiiii:iiiiiiiiiiiiiiii:iiiiir:;{iiiii:i{iiii::: 


Mile.   Anna    Pavlo\A/a 

Has  Selected 

The  Ladies'  Home  Journal 

In  which  to  present  her  three  new  society 
dances.  Each  of  the  fourteen  steps  in 
each  dance  will  be  iUustrated  from  the 
photographs  of  Mile.  Pavlowa  and  her 
partner,  M.  Glustine,  taken  especially  for 
The  Ladies'  Home  Journal  in  London,  and 
the  method  of  reproduction  marks  a  new 
departure  in  the  art  of  printing. 
In  addition  to  the  illustrations  of  the 
steps,  and  simple,  concise  explanations, 
there  will  also  be  published  in  the  same 
issues  of  The  Journal 

The  Original  Music  for  the  Dances 

The  three  compositions  were  the  prize- 
winning  manuscripts  submitted  to  Mile. 
Pavlowa  by  over  three  hundred  American 
composers. 

The  Pavlowana 

Is  the  name  of  the  first  of  the  three  dances, 
and,  together  with  its  original  music,  will 
be  presented  on  three  full  pages  of 

The  Ladies'  Home  Journal 

For  January,  1915 

On  Sale  EveryXeheTe  December  20 

In  the  February  number  will  be  given  the 
second  dance  and  its  music;  and  in  the 
March  number  the  third  dance  and  its 
music  will  be  presented. 

The  Ladies'  Home  Journal 

Independence  Square  Philadelphia 


'i.iiiii,ii!iiiiii[(iiiii[<ii:iii:'ii;i,i:i.i 


BEAUTY  of  finish  is  only  the  symbol  of  the  supreme 
worth  of  the  Steinway  Piano.  Exquisite  sweetness 
and  wonderful  strength  of  tone  are  responsible  for  its 
worldwide  fame.     The  first 

Steinway 

was  a  triumph  of  musical  genius,  and,  by  strict  adherence 
to  the  highest  art  ideals,  four  generations  of  pianoforte 
experts  have  maintained  and  extended  the  reputation  of 
the  Steinway  as  the  Standard  Piano  of  the  World. 

Your  choice  should  be  the  piano  by  which  all  others  are 
measured — the  Steinway. 


Steinway  6r  Sons 

Steinway   Hall 
107-109  East  14th  St.,  New  York 


Sub'A/ay   Express  Station  at  the  Door 


Represented  by  the  foremost  dealers  everywhere 
Also  Pianos  For   Kent 


In  Some  Greek  Garden  Long  Ago 

TN  some  Greek  garden  long  ago 

*■     A  sad-sweet  maiden  murmured  long 

That  rosy  roads  must  turn  to  snow 

And  Winter  still  the  Summer's  song. 
"And  what  were  all  the  gods,"  she  said, 

"If  one  could  keep  the  love  of  men  ? 
The  bliss  of  Heaven  if  the  dead 

Might  come  returning  here  again  ? 
For  I  would  longer  live,"  she  cried, 

"In  some  new  shape,  in  some  new  soul!" 
Then  in  her  stated  time  she  died ; 

And  still  the  stated  seasons  roll. 


And  yet,  Pavlowa,  here  it  seemed 

I  saw  the  maiden  seated  so; 
Pavlowa,  was  it  you  that  dreamed 

In  some  Greek  garden  long  ago  ? 

— Douglas  Malloch 


/ 


14  DAY  USE 

RETURN  TO  DESK  FROM  WHICH  BORROWED 

ENVIRONMENTAL  DESIGN 
LIBRARY 

This  book  is  due  on  the  last  date  stamped  below,  or 

on  the  date  to  which  renewed. 

Renewed  books  are  subjea  to  immediate  recall. 


MAY  1  9  1969 

SEN  f  <JH  JLL 

APR  1 1  m^ 

U.  C.  BERKELEY 

1 

1 

(H50b75l0)476                                              Birkeley 

